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Martin Romeoon 11 October 2013
Transcript of Outside Chapter
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Focus on the creation of an object that can describe / be a process.
Jean Tinguelyi (see http://it.wikipedia.org/wiki/Jean_Tinguely) would, for example, build some sort of vital curve into his 'machines', a curve that would end with the self-destruction of the art object itself.
What strikes me as fascinating in this process is the creation of a system based on the "balance" between "technical control" and "chaotic autonomy". I'm thinking particularly about the technical planning involved in our work, which tries to bring variables (potential chaos) under control, allowing the installation to have a life of its own through technical means.
The emphasis should be on the dialectic between 'controlled' and 'unforeseen' elements, in the attempt to create an object that can, during the course of the installation, acquire a progressive "autonomy" from the original technical (planning) restrictions.
....now I do not know specifically how what for this may take, but it is up to our working group to try and understand how to proceed.The core idea is to create a climax in the installation in the form of a completely unforeseeable moment, while starting, paradoxically, from very precise technical and formal limitations. A sort of antenna of serendipity.
GO GLITCH!!! matteo stocco
anywhere you open a book you will come to understand its contents ..
the true randomness is the audience: element not determined and so unexpected = variable.
from an idea by following a process, after the advent of new technologies and therefore their use, we tend to take variants of this project, our path, paths and shortcuts in some cases. the result will be something similar to what I initially thought.
INPUT = OUTPUT
HUMAN INPUT ≠ OUTPUT
continuous and infinite
... finding meaning in new combinations ?
'the accident of finding something good or useful while not specifically searching for it ...'
technology closely linked to serendipity
the inter-Actor is the serendipity
The certitude that everything has been written negates us or turns us into phantoms.
(Borges, The library of Babel)
...the medieval notion of the world as a book
...to go beyond the computer's capability to generate random functions.
A 'complex system' is a system composed of interconnected parts that as a whole exhibit one or more properties (behavior among the possible properties) not obvious from the properties of the individual parts.
Complex adaptive systems (CAS) are special cases of complex systems. They are complex in that they are diverse and made up of multiple interconnected elements and adaptive in that they have the capacity to change and learn from experience. Examples of complex adaptive systems include the stock market, social insect and ant colonies, the biosphereand the ecosystem, the brain and the immune system, the cell and the developing embryo, manufacturing businesses and any human social group-based endeavor in a cultural and social system such as political parties or communities. This includes some large-scale online systems, such as collaborative tagging or social bookmarking systems.
Complex Adaptive Systems
interest for the adaptation to the medium ... the total non-manipulation of the instrument of expression involves a series of consequences.
where does 'interaction' meet / become 'artificial intelligence' ?
chaos, randomness, chance as just parts/forms of complexity
Role & use of technology in the interactive artwork ?
Audience as part of the system
Artist as observer ?
study model for a basic 'complex' system
based on continuous reciprocal control of
the various parameters in the installation
Interaction beyond Determinism
The Oracle 'Pythia' of Delphi
Coin tossing permutations: the 64 Exagrams of the I-Ching
Read More >
Andrea Fincato, Mariano Leotta, Martin Romeo, Andrea Santini and Matteo Stocco have embarked upon the challenge of creating a collective interactive art project, rather then simply presenting a collection of individual pieces.
They felt that the concept to explore was well worth risking such methodology. They envision this as a work-in-progress, an adaptive-form that can develop in response to the theme over time. Each time a slightly different reactive environment will be developed and adapted to to new exhibition spaces, always with the goal of exploring and breaking that delicate balance between the 'controlled' and the 'unforeseeable', allowing technology to exceed itself and observing the results of any forms of interference and reaction. This online presentation will work as a database for storing the artists' ideas, sketches, plans and 'mindmaps' but also the visitors’ opinions, collected during the opening days of the exhibition and focusing on how audiences can influence the final outcome of a piece of art and the importance of such a collaboration. The process of exploring “serendipity” will be further developed in the forthcoming months with a series of exhibitions presenting each time a different approach on the same topic.
You are invited to interfere, leave comments, get in touch ...
modes of fruition
using TV sets?
sensor = interfere on the system
(1982) is a multimedia artist. He mainly works with interactive audio/video installations and photography. He collaborates with theatre companies and music bands.
(1982) is a video maker, interaction designer and artistic director. He aims to crossbreed video, web, performance and exhibition in a single experience. In 2007 he founded Artereazione an independent, open lab of research and production of sound, video, multimedia and social projects.
(1986) is a visual and multimedia artist who works with interactive installations and dance performances. Artistic director of the Toolkit Festival, held in Venice is 2011 and 2012, he managed to create an important meeting point for interactive art in Italy.
(1978) Multimedia artist, specialising in sound research and interaction. He has recently completed PhD on spatial audio and live electronics at the Sonic Arts Research Centre (Belfast). Andrea is co-founder and technical director of the creative research group Ubikteatro (Venice).
(1986) lives and works in Venice. His main fields of interest are video art and interaction design. His research basically stands on the combination between the technical and theoretical aspects of video making and interaction design. Inspiration and research comes from different fields such as photography, arts, cinema and science (astronomy as well).
Active role of the audience
What if, instead, we managed to have each member of the audience perceive a rather different re-combination of elements, navigate them at their will, with no 'given' direction ... but with the awareness that they have individually contributed to their generation, transformation and unique combination.
The serendipic accident would, if at all, then happen 'within' them... our system would truly act as an antenna of serendipity rather then a mere pseudo random data shuffler, or blender.
...play with our natural tendency to try and recognize patterns!
Umberto Eco's 'Open Work'
More than twenty years after its original appearance in Italian, 'The Open Work' (1989) remains significant for its powerful concept of "openness": the artist's decision to leave arrangements of some constituents of a work to the public or to chance, and for its striking anticipation of two major themes of contemporary literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interactive process between reader and text.
look at things from a different angle!
Artist as intepreter ?
who understands the results of the interaction?
about us ...
What do you think?
send us your ideas, stuff, pics on this subject...
NO ping from mars
Hamburg, Sept. 2012